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rich

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About rich

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    Hero Member
  • Birthday January 1

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  • Location
    london.uk
  • Interested in Sound for Picture
    Yes
  • About
    apparently i cant leave this bit blank so i feel obliged to add something
  1. Arri Amira AES inputs with zaxcom QRX

    I did exactly that today. As Tom says, use AES out swapped. on the camera ch1 should be AES B1 and ch2 should be AES B2. you dont need to make a special cable if you dont want to. i use my normal TA5 to 2x XLR. the second XLR isnt used, but i plug it in anyway to stop it a-dangling.
  2. ive been speaking to someone who has been mixing a show shooting on two alexa mini's. they have been using lockit boxes jammed via ambients ACN and using the master controller connected to the 788. edit has reported the same thing. the assistant editor helpfully emailed the producers to say that there was the same offset. using a digislate proved that the timecode from the lockit boxes was not the issue. the DIT on the show said that it is a well known thing with the Alexa mini and there is a workaround - dont know what it is though. but since the digislate was brought to set, the assistant editor agreed that the issue was nothing to do with sound, but somewhere in the camera, and now its not an issue any more. not that they told production, but thats another story. it never ceases to be irritating that whenever there is a sync issue, the finger is automatically pointed at sound. almost every top end recorder has timecode accuracy to rival the best external syncboxes. how many cameras could claim the same?
  3. SD633 x1x2 vs SD302 tape out

    X1 is a mono feed, which you have noticed because panning makes no difference. by assigning left and right to X1, you are effectively sending a mono sum. so because you now have a separate output for each aux, you will need two TA3 to 1/4" cables and in the X1 and X2 routing menus, send Left to X1 and Right to X2. alternatively, you could use the X3, X4 minijack output and either get a minijack to male TA3 adapter so you can use your existing cable, or get a minijack to 2x 1/4" jack, and assign L and R to X3 and X4.
  4. Hawkwoods NP1 cup and Sound Devices 788t

    if you have a Hawkwoods shoe with a trailing cable, use the trailing cable to power the 788. if you have a shoe with regulated outputs, they dont like the high current draw and will cut out after a few minutes once the internal fuse trips out. i have used the NP-U and NP-R shoes with no issues like that.
  5. i replaced mine for that reason.
  6. Super CMIT and wireless phase issues

    if you have the super CMIT in ideal position, and a radio mic on the same actor, i do not expect that the two will easily be mixed together. you can apply all the latency you like, but because of the nature of the processing of the super CMIT, something will always be a little off. I say this with no knowledge of the processes in post, but from trying to get this work on set. either use the radios or the super CMIT in the mix but not both at the same time on the same source with a close super CMIT. if you want the boom to mix with the radios in the above situation, then use the unprocessed output and make sure your latencies are all compensated for. this is the brave new world of digital systems and part of what should be considered in adapting your methods.
  7. Zaxcom STA042 AES42 Mic Input Won't Work

    are you using external power via the STA042? i dimly remember something about that being needed.
  8. Ideal Name for Audio Maintenance People

    one of my favourite quotes ever.
  9. Phase alignment in polyphonic dialog tracks

    if they are mixing camera top mic and external recorder sound, then there will be the speed of sound difference when using timecode. plural eyes would most likely adjust for the few milliseconds difference. the poly files you would expect to be correctly in phase (for example compensating for different mic brands having different phase with each other) and time aligned to compensate for latency with radio mics that use DSP - lectro / wisy / zaxcom/ audio 1010. then you are getting into the art of mixing which minimises the problems associated with two or more moving mics in the mix.
  10. Defective Mic?

    i am always wary of anything the daily mail prints. there are 3 stories that have appeared in their paper that i was involved in, and their story of events was significantly different from what actually happened. haven't clicked the link though due to my above bias.
  11. Any disadvantage to using regulated power?

    yes. i was looking at 606-614 as thats our allocated band over here. but its pretty broadband, though only if the regulator is close by to your antennas.
  12. Any disadvantage to using regulated power?

    rf spray. i stopped using regulated power supplies after i found, with an rf explorer, that if i had the regulator part near to the antennas of my zaxcom receivers, they would become desensed.
  13. Audio Ltd 2040

    on the diagram that i posted? the cylinder in the middle is the cable. no resistors involved.
  14. if you want full range frequency response. use a cable. simple. for wireless then the current digital systems will get you as close as you can get for what is commercially available. i only know the Zaxcom and Audio Ltd systems. there is data compression at play in order to get the audio information into the rf spectrum limits required by law. time and technology will improve this. there will always be a compromise between audio performance, rf performance, battery life, size and features. increasing bit depth and sampling frequency increases the amount of data you have to squeeze into a finite amount of rf space. again, time and technology will improve this. Audio Ltd have told me that their system operates at 44.1KHz. increasing the sampling frequency increased processor overhead thereby decreasing battery life, and also will increase processing required to get the signal into the rf footprint which increase latency of the system. see. compromises everywhere. this isnt really a group of people who are overly fussed about the specs of the system. once the equipment is out in our 'normal' working environment, then there are so many other factors that affect what we record, which have a far greater effect than the on paper specs of the gear. once you get to the top end of gear, you can be pretty sure that the gear will sound just fine. its just a question of what suits your needs / method of working / what logo you would prefer to have on your gear / what your friends have / what the internet advises you to get.
  15. get the 4063. it is the same specs as the 4061, apart from only needing 3.3v to work to its full specs, compared to 5v for all the other mics in the DPA range (apart from the discontinued 4073) I have used the 4063 with no issues. as have many others here, so would say that the 4063 is also a tried and true product. if the 702 has a sample rate converter on its digital input, then it will make no difference what the output sample rate is of the QRX200. there was much discussion about the 32KHz output if you feel the need to look for it. but basically, for 99.99% of what the radio mics will be used for, there is nothing that will be missed above 16KHz in your signal. and when i tested it a while back, i was hard pressed to tell the difference between the analogue and digital outs from my QRX200 into my 788.
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